Journal of the Research Society of Pakistan Volume No. 57, Issue No. 1 (January – June, 2020) Amna Umer Cheema * Vladimir Nabokov’s Lolita: Humbert Humbert’s Psychological Transition from Desire to Remorse Abstract This research paper is an evaluation of the psychological transition in Humbert Humbert's character - the protagonist of Vladimir Nabokov’s Lolita. Humbert is initially driven by his obsessive desire for nymphets. His untamed lust results in the victimization of his stepdaughter. The research attempts to explore the behavioural and emotional change in Humbert's character. This change is analyzed with respect to the conflicting emotions of 'desire' and 'remorse' which, according to Humbert, are the characteristic features of his personality. By establishing the narcissistic element as the defining factor of Humbert's character, it has been deduced that he is incapable of remorse. Introduction This paper is an examination of Humbert's psychological journey from desire to remorse. The aim of the research is to delineate the thought processes which stimulate Humbert's obsession with Lolita, alias, Dolores Haze to undergo a transformation, and to unravel how his conscience reprimands him. The objective is to establish that Humbert's journey in the novel is an emotional and behavioural movement from a lustful obsession to self-admonition. Apart from this, there is emphasis on the obtruding nature of his desire for Lolita, and it has been inferred how his compulsively preoccupied yearning for the young child ironically results in the shattering and debilitation of his own personality. Humbert's character has proved feasible in comprehending the dilemma which engulfs pedophiles, particularly those haunted by the ‘Lolita Complex’ - the perverse infatuation of adult males with very young female children. By using his attractive skill of ingenious expression, Humbert ‘dehumanizes Lolita’ (Tamas 2016, 11) and tries to create an aura of ambiguity pertaining to his destructive character. He repeatedly indulges in self-loathing to gain the audience's sympathy. And unfortunately, Humbert emerges out successful in this regard by undermining the traumatic effects of his ferocious behaviour. He harbours the notion that a person has to be an artist - a true aesthete - to decipher a pedophile's mind-set. Humbert ‘only seeks what he has created in his world of imagination and is not really moved by forces outside of himself’ (Roberts and Saeverot 2018, 89). Furthermore, the elaborate memoir composed by Humbert, can be juxtaposed with an absurd trial in which a suspect is both the defendant and the judge. Such * Amna Umer Cheema, Assistant Professor, Department of English Language & Literature, University Of The Punjab, [email protected] 45 Journal of the Research Society of Pakistan – Vol. No. 57, No. 1 January – June, 2020 behaviour is typical of dangerous offenders who, in order to absolve themselves of guilt, perpetually resort to pseudo self-justification. Metaphorically, Humbert exemplifies human crookedness, the malevolent and unscrupulous streak, which uses whatever means possible to satisfy its yearnings. Moreover, during the course of his criminal behaviour, Humbert's thought processes persistently vacillate between gratification of his lust and self-hatred, which adds to the validity of his life-like persona. At various instances in the novel, Humbert uses his aura to manipulate the less perceptive readers into believing that his eventual metamorphosis has no ulterior motives attached to it. Above all, Lolita as a psychological movement 'underlines the essential, inefficient, painstaking and pain-giving selfishness of all passion, all greed- of all urges, whatever they may be, that insist on being satisfied without regard to the effect their satisfaction has upon the outside world. Humbert is all of us' (Janeway 1958). According to the American Heritage dictionary, desire means 'to wish or long for; to want, or the object of one's desire' (2001, 236). 'In desire, we wish to change something in ourselves or in our environment or both' (Russell 1989,174). lt is note-worthy that people, who blindly pursue their desires, often negate the existence of those around them. Such people are termed as solipsists. 'Solipsism' is a philosophical theory resting on the belief that the self is the only reality. Humbert repeatedly uses this term throughout his narrative, to refer to his abuse of Lolita. For instance, after using her as an aid to masturbation for the first time, Humbert claims that, 'Lolita had been safely solipsized' (Nabokov 1997, 60). He uses her as a means to satisfy his 'paroxysm of desire' (Nabokov 1997,12). Moreover, as asserted by Bertrand Russell, Humbert wants to model his environment in a way which will compliment his desire. In other words, he wants to experience sinful bliss, by subverting the will of an innocent and vivacious child, without being reprimanded. Tragically, he is able to meet the demands of his carnal yearnings by disregarding 'all laws of humanity' (Nabokov 1997, 287). Throughout the narrative, Humbert's utterances are saturated with 'over-elegant language', which alludes to the ' glossy falsity ' of his distorted version of events (Bloom 1987,17). He forms forced associations between prominent literary and art works and his own plight. One of the most outstanding of these references is Humbert's intermittent insistence on the notion that Lolita is Carmen- the protagonist of the French opera 'Carmen'. Carmen is a beautiful young gypsy with a fiery temperament. She expresses her love for Don Jose and then deserts him for a bullfighter. Don Jose is unable to cope with Carmen's betrayal and falls prone to madness. Humbert identifies himself with Don Jose who is portrayed as an inexperienced soldier in the opera and who undergoes a transformation from a faithful lover to an obsessed lunatic. Likewise, Humbert also alleges that Lolita (similar to Carmen) is an extremely cruel nymphet, whereas he is the pitiable abandoned lover who has to undergo much agony and suffering (like Don Jose). Based on the above discourse, Humbert's flamboyant style corroborates with his malicious intent (of hunting nymphets), which he so easily masquerades in 'the presence of adults' (Nabokov 1997, 88). Moreover, it can be said with certitude that Humbert's personality as delineated by him, is similar to the image apparent 46 Vladimir Nabokov’s Lolita: Humbert Humbert’s Psychological Transition from Desire … from a kaleidoscope, since at various instances he introduces a succession of changing patterns of his character. According to him, for most part of his life he had to veil his craving from the alien world, which to his dismay, led to his 'monstrously twofold' existence (Nabokov 1997,18). Thus, like a spy and an 'imposter' he struggles to hide his true identity from the environing world (Fowler 1974,167) and lives in a perpetual state of anxiety and fear. Humbert superimposes his much-prized private vision on the world around him and transforms everything. There is a disparity between his public and private self. Hence, the abominable monster within him remains undetected by the teaching staff at Beardsley College, and escapes scrutiny by the attendants at numerous motels where he indulges in an illicit relationship with his stepdaughter. He regretfully states that, 'my world was split' (Nabokov I997,18). This is why, Peter Roberts and Herner Saeverot are of the view that Humbert ‘deceives by way of concealing’ (2018, 98). However, the unassailable reality is that the relationship between him and Lolita is one of perpetual torment and painful insecurity, which proves to be bitter and utterly unrewarding in the long run. Unwilling confrontation with this blatant incongruity in their relationship, results in a disastrous destruction of Humbert's illusions thereby cornering him into a psychologically disturbing enclosure, where he is ' his own best tormenter' (Sharpe 1991, 64). The only truth acceptable to him is that which ratifies the obtuse nature of his vision. It leads him to the false conclusion that he has catered to his basest needs 'without impairing the morals of a minor. Absolutely no harm done' (Nabokov 1997, 62). Due to his profound conviction in the pride of flesh, he elicits great joy from scenes of vile vulgarity; from illustrations of ' adolescent maidservants ... (smelling of crushed daisies and sweat); and from very young harlots disguised as children in provincial brothels and ... the exquisite stainless tenderness seeping through the musk and the mud'(Nabokov 1997, 44). This is why, Tony Sharpe has maintained that ' it is difficult to be sure whether the dreamer or the demon in him (referring to Humbert) has the final word ' (1991, 77). According to Elizabeth W. Bruss, on a metaphorical level, Humbert 's infatuation with little girls represents his urge to fulfill his dreams coupled with his need to relieve himself of dreadful nightmares. The non-realization of this need pushes Humbert to the brink of 'vengeful guilt and disappointment ' (1987, 34). Humbert is a true dreamer in the sense that he conceives, imagines and thrives on fanciful ideas. The moral compass in Humbert is completely shattered by his haunting demons to such a degree that obscene mental images of Lolita do not suffice to quench his thirst for the young victim. He longs for an actual physical consummation of his dark imaginings, and his night long broodings on devising plans for hunting Lolita are similar to a 'predator that prefers a moving prey to a motionless one' (Nabokov 1997,42). The truly despicable demonic aspect of Humbert is highlighted in the preceding utterance, ' I am like one of those inflated ... spiders you see in old gardens. Sitting in the middle of a luminous web and giving little jerks to this or that strand. My web is spread all over' (Nabokov 1997, 49). It is note-worthy that despite the obvious examples of Humbert's serpent like nature, critics such as Douglas Fowler have asserted that the most poignant crime committed by Humbert is against his 'own ethical sense rather than against Lolita 47 Journal of the Research Society of Pakistan – Vol.